Opera on the Move in the Nordic Countries during the Long 19th ...

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290 Camilla Hambro Example 2. Tekla Griebel, Gavotte from I Rosentiden. Balletmusik af Thekla Griebel. (Gavotte – Menuett – Pierettedands (Kehraus)). Kongelig Hof-Musikhandel (Henrik Hennings Efterfölger Aktieselskab (Kjöbenhavn)). 33 [1895]
Gendered agendas and the representation of gender … 291 composed by a lady’s hand, quite contrary to Griebel’s music, would sound very light. Even though it testified to her knowledge and skill, hers was rather too hefty”. Her setting also surprised him by being “a pretty extensive work full of lovely arrangements and offering much for the eyes to enjoy.” In Politiken Charles Kjerulf described the public debut of Griebel’s ballet music and enjoyed it so much that he recommended that it be produced at the Royal Theatre. The critic of Københavns Adresse Avis found that her music “bears testimony of unquestionable talent. Several details catch one’s ear immediately, namely the dances in rococo style; the gavotte above all made a splendid impression” (see Example 2). Berlingske Tidende focused on the “pirouette dance in the first act by the transformed cloister school pupils, the enchanting dance by five children as cupids, the lovers’ gavotte and finally, the big dance ensembles”. The lovers’ gavotte, performed by Emma Nielsen and Valborg Jørgensen, is here chosen as an example, because this very dance was is not only highlighted by Avisen’s critic (29 August 1895), but also by most newspapers, which emphasized its particular success and elegance. Dannebrog (29 August 1895) reported satisfaction both in the choreography, as well as in the music and dance: “In simultaneously very old and very new fashion dance and singing are mixed together in a very powerful way, and generally the ballet appeared so fine and enjoyable that we almost could assume that it found favour with the royal theatre directors present in the audience”. Further on he stressed that Griebel “composed very stylish music in sync, in graceful rhythm, in delicate mood and not devoid of humour. However, passion was clearly not woman’s forte, at least not setting it in music.” Dagens Nyheder pointed out that “certainly we have seen women with and under the baton before, but what hereafter might become the rule, was an exception” (29 August 1895). It was emphasised that women ballet composers, orchestral musicians and conductors were more pioneering than the singers and dancers. Still, the critic consistently described the women’s orchestra as more of a decorative element, “dressed in short sleeves as if going to a dance, but playing instead in a dance orchestra” (Nationaltidende, 29 August 1895). Apparently, the performance was not on the same artistic level as the conductor and the composer: Even if the orchestral performance was not flawless, blame cannot be placed on the conductor. Rather it should be sought among the sometimes rather amateurish women musicians the orchestra consisted of. Most of the evening nervousness along with incapacity paralysed the orchestra’s performance.
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Introduction Anne Sivuoja with Owe
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Introduction ity of vocal resources
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*** Introduction Methodological tra
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38 Juvas Marianne Liljas but during
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40 Juvas Marianne Liljas pedagogue
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46 Juvas Marianne Liljas Jussi Bjö
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48 Juvas Marianne Liljas ämnesdida
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50 Formed to Perform Educating Stud
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52 Marianne Tråvén most of them w
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56 Marianne Tråvén of Monvel. The
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58 Marianne Tråvén 1816 the singi
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60 Marianne Tråvén holm 1851), M
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62 Marianne Tråvén Georg Joseph V
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64 Marianne Tråvén on him transfe
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66 Marianne Tråvén techniques of
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82 Marianne Tråvén Traini, Carlo
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84 Ingela Tägil tria and England d
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86 Ingela Tägil play through her l
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88 Ingela Tägil Another strange is
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90 Ingela Tägil in boarding houses
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92 Ingela Tägil Published referenc
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Music at the Royal Swedish
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Opera on the Move in the Nordic Countries during the Long 19th ...

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